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Quick, name the rogue state in the Middle East. Hints: It has an active nuclear-weapons program but conducts it in secret; its security organs regularly kill perceived enemies of the state, both at home and abroad; its political process has been hijacked by religious fundamentalists who believe they are doing God’s will; its violent recklessness destabilizes the world’s most volatile region; and it seems as deaf to reason as it is impervious to pressure. Also: Its name begins with “I”.
Kinzer’s analysis is fueled by Bibi Netanyahu’s decision to use lethal force to defend Israel against a flotilla threatening to deliver toys, wheelchairs and used clothing to Gaza. Israel and Iran are much more alike than they are different, he argues. Perhaps this helps explain why they hate one another so much.
The comparison falls down on a number of points, most prominently including Tehran’s increasingly weakening claim to be a democracy. Still, Kinzer gets an amazing amount of distance out of this, and the sheer craziness of government rhetoric and arrogant indifference to international law is a point on which the leaders in Tehran and Jerusalem seem to be united. So, Kinzer asks, why does the United States have such radically different policies towards these two countries?
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”